Catalyzing the Hieros Gamos Icon
This ongoing project is timed performance collaborations taking on the energy of a ritual embodiment of the Hieros Gamos. These progressed through time — from three collaborations with Daniel Rothbart’s Meditation Mediation project (2005-2007) to Richard Move’s choreography of Inanna Ascending (2009), Suzanne Benton’s Ariadne as the outcome of Persephane’s Descent and a 2017 duet of performance/poetry with Canisi Memo in a ruined church in North Cyprus.
MADONNA X: STILL LIFE IN RED PERFORMANCE
AWAKENING: PURE FORM
RESURRECTING MARGARET FULLER
FULL CIRCLE ARIADNE
FULL CIRCLE: MARGARET FULLER
Solar Eclipse August 20, 2017 North Cyprus
Embodiment” was performed in a bombed North Cyprus church in the Maras neighborhood of Famagusta, North Cyprus with Canisi Memo, the local shaman/poet. The performance under the Great American Eclipse of August 20, 2017 began the transition to the closure of twelve years (2005-2017) of alchemical experiments. The trajectory of the Journey to the Hieros Gamos is reflected in the eclipse in the Earth sign of Taurus that began my inquiry into the structure of the archetype (Meditation Mediation 4/25/05) opening the path for “Emergence” (9/23/06) to establish the trajectory to “Embodiment.”
February 17, 2011 Gershwin Hotel NYC
This collaboration with three male poets/songwriters and three female poets/sing writers together with Dianne Bowen was a celebration of the Hieros Gamos Union of masculine & feminine foreseeing the discovery of a gender-balanced continental philosophy in the Saas-Fee Media Lab in the Swiss Alps. Bowen’s performance drawing in the lobby positioned her as EGS portal to archeology of the footprint reflecting cosmic timing — thereby creating a phenomenological Art-I-Fact of the ontology of the Hieros Gamos Union of Heaven & Earth.
Woman in the Twenty-First Century:
Margaret Fuller and the Sacred Marriage
multimedia exhibition of contemporary art opening August 2010 at HP Garcia NYC
this was an experiment, so I tried something new. I drew down Margaret Fuller’s energies by placing her natal horoscope into the chart of the performance. Then, I collected the alchemical poems that I read as part of Cambridge Performance Painting: Margaret Fuller Resurrected and placed them in the three directions: East/Aquarius (The Sacred Marriage); North/Sagittarius (Serpent, Triangle and Rays); West/Leo (Sub Rosa Crux). I proceeded through these three directions by reading a poem associated with the spirit ruling the direction.
When I got to the fourth direction, the South (1 degree Gemini, precisely on Margaret Fuller’s Sun!), I read a section from my novela, The Labyrinth. Written in 1997, this plunge into the Ariadne myth was the outcome of my first art assignment: a preview of a 1997 Open Studios event. It seems that taking on a new identity as art critic necessitated the rewriting of the myth that Suzanne Benton dramatized in her Mask Tale Performance at the opening of the exhibition.
At that point in the performance, Embodied arrived the precise degree of Margaret’s Gemini Sun, the narrative was taking form. During the reading, which was synchronized with Lutz’s dada/classical genius, the red horns of Michael’s phallic red bull merged with the crescent of Ariadne/Margaret’s submerged crowned head. The result is the iconography of the sacred marriage via the crowned Vesica Piscis for the Age of Aquarius:
HP GARCIA, AUGUST 2010
Suzanne Benton graced a new evolution of Woman in the 21st Century: Margaret Fuller and the Sacred Marriage with her opening Mask Tale performance before the splendid Sacred Geometry of Tanya Rajir. This time it was Ariadne who led Thesius through the labyrinth with her ball of yarn and a sword. This powerful performance was the outcome of a Persephone maskwork process that foretold the resurrection of the Minotaur in the famous scandals of the #MeToo Movement closing the decade launched by the Margaret Fuller revival.
Woman in the Twenty-First Century:
Margaret Fuller and the Sacred Marriage
A multimedia exhibition of contemporary art May 23 – June 20, 2010
Lisa Streitfeld’s performance in the basement of Pierre Menard Gallery opened the multi-media exhibition on the Margaret Fuller Bicentennial celebrated throughout the Cambridge hometown of the Mother of American Literatuof established the historicity of the “sacred marriage” ontology in America – direct from Fuller to contemporary art. Pioneering feminist performance and the iconography of a new movement will be examined within the context of the personal mythmaking surrounding the development of the American canon.
In a spontaneous painting performed to improvised music, Michael Manning will integrate his motif of the Kundalini Serpent Power with Mark Wiener’s performance with multimedia works based on the pop star icon. Improvising with the painters are the musicians: David Manuel (digital), David Intrator (sax) and Yukari (flute).
The performance was streamed live is the Ouroboros for the three previous HP Salons, bringing full circle the underground iconography of the long-repressed feminine into the Aquarian consciousness through the Internet. This final experiment brings the exploration of the Heisenberg Principle that launched this groundbreaking exhibition to a hopeful conclusion.
Black Madonna Salon, June 2009
Black Madonna Salon presented Katherine Crockett performing "Lust" by Richard Move. “Awakening:Pure Form” was a complete integration of body with environment due to Move’s positioning of subject/object between Pentagram: Venus Revisited by HP Garcia and Mark Wiener and Oracle by Janet Rutkowski & Walter Kenul established a powerful visual narrative of Inanna returning from the Underworld which made her the triple goddess beyond her self-declared identity of Queen of Heaven and Earth. She takes form in the female body between the Crescent Moon and Venus (Lucifer) as Morning Star. This creation of the narrative that would propel the remainder of my journey to Cyprus and return with the lost knowledge of Venus embedded in the island’s archeology was precipitated by the Venus conjunction with Mars in Taurus when this blog was launched with HP Garcia, the direct descendent if the Founder and First Grandmaster of the Knights Templar.
A new value by way of the transformation revealed by Mark Wiener in “The Black Madonna Series,” which prompted our collaboration of “Still Life in Red” as the signature image of the Black Madonna. We created the boundary smashing image by a violent slashing of a red X across the surface of the photograph. In crossing out his past in this manner, Wiener opened the door to a new future, not just for himself but for the collective humanity, to pull the dark energy known as Shakti or the Kundalini away from projection and transform it into art.
The fourth chapter of The Alchemy of Love in Five Chapters: AIR/SUBLIMATIO was celebrated with a third collaboration with Aquarian Daniel Rothbart’s Meditation Mediation in the gallery. His collection of hand-crafted bowls and striker are symbolic of the masculine and feminine reflected in the conjunction of Sun and Moon under the solar eclipse catalyzing our collaboration on 4/24/05. My alchemical performance was highly successful in that a lapis lazuli card of the Aquarian face submerged in water in one of the bowls to create the double wave symbol of Aquarius. This double wave reflected our sun signs as well as the merging of opposites of the bowl and striker apparatus for creation under optimal cosmic conditions for the Hieros Gamos.
Hudson River: Meditation Mediation
Fall Equinox 2006
The Hieros Gamos Project presented a second collaboration with Daniel Rothbart in Peekskill New York during a solar eclipse falling on the Fall Equinox, 2006. “Emergence” took place at Riverfront Green Park in Peekskill, New York and was followed by a Rosh Hashanah Tashlich Ceremony led by Livia Straus.
Interested in seeing more of my work? Please get in touch and I’ll be glad to share some more pieces with you.